Jonathan Baldo

Professor of English

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Biography

Photo Credit: Gerry Szymanski

A faculty member of the Eastman School since 1983 and chair of the department from 1997-2005, Jonathan Baldo holds a B.A. in English from Yale University and a Ph.D. from the State University of New York at Buffalo.

His articles on Shakespeare and early modern culture have appeared in Shakespeare Quarterly, English Literary Renaissance, Renaissance Drama, Modern Language Quarterly, Borrowers and Lenders: The Journal of Shakespeare and Appropriation, and Criticism as well as in collections such as Forgetting Faith?: Negotiating Confessional Conflict in Early Modern Europe (2011), Macbeth:  New Critical Essays (2008), and Resurrecting Elizabeth I in Seventeenth-Century England (2007).  He has also published on authors and topics as diverse as Franz Kafka, Gabriel García Márquez, Percy Bysshe Shelley’s poetics, and Ingmar Bergman.  Aided by a Senior Research Fellowship from the American Council of Learned Societies (ACLS), he recently completed Memory in Shakespeare’s Histories:  Stages of Forgetting in Early Modern England (2012), published by Routledge in its Studies in Shakespeare Series.  It reflects his ongoing interest in the ways that works of art negotiate conflicting cultural memories and in the partnership of remembering and forgetting in our constructions of the past.

Within the past two years, he has been invited to give papers at conferences in Munich, Prague, Paris, and Stratford-upon-Avon.  He enjoys teaching a wide range of topics, from Shakespeare to Faulkner, Joyce, Kafka, modern and contemporary poetry, and film.  In 2011, he was awarded the University of Rochester’s Edward Peck Curtis Award for Excellence in Undergraduate Teaching:  an honor that he is glad to share with the intellectually dynamic and curious students of the Eastman School of Music.

Works / Publications

Books

  • Memory in Shakespeare’s Histories:  Stages of Forgetting in Early Modern England (Routledge, 2012).
  • The Unmasking of Drama:  Contested Representation in Shakespearean Tragedy (Wayne State University Press, 1996).

Articles

  • “Shakespeare’s Historical Sublime,” in Forgetting Faith?: Negotiating Confessional Conflict in Early Modern Europe, ed. Isabel Karremann(Berlin/New York:  De Gruyter, 2011).
  • “The Greening of Will Shakespeare,” in Borrowers and Lenders:  The Journal of Shakespeare and Appropriation 3:2 (Spring/summer, 2008).
  • “‘Into a thousand parts’:  Representing the Nation in Henry V,English Literary Renaissance 38 (Winter, 2008), 55-82.
  • “’A rooted sorrow’:  Scotland’s Unusable Past,” in Macbeth:  New Critical Essays, ed. Nick Moschovakis (New York and London:  Routledge, 2008), 88-103.
  • “Forgetting Elizabeth in Henry VIII,” in Resurrecting Elizabeth I in Seventeenth-Century England, edited by Elizabeth H. Hageman and Katherine Conway, (Madison, NJ:  Fairleigh Dickinson University Press, 2007), 132-148.
  • “Necromancing the Past in Henry VIII,” English Literary Renaissance 34, no. 3 (Autumn 2004), 359-86.
  • “The Politics of Aloofness In Macbeth,” English Literary Renaissance 26 (1996), 531-60.
  • “Wars of Memory in Henry V,” Shakespeare Quarterly 47 (1996), 132-59.
  • “Exporting Oblivion in The TempestModern Language Quarterly 56 (1995), 111-44.
  • “Ophelia’s Rhetoric, or Partial to Synecdoche,” Criticism 37 (1995), 1-35.
  • “The Shadow of Levelling in Timon of Athens,” Criticism 35 (1993),  559-588.
  • “The Reader on Trial:  Or, is Reading Necessarily an Injudicious Act?” In Critical Essays on Franz Kafka, ed. Ruth V. Gross (Boston:  G.K. Hall, 1990), pp. 235-259.
  • “Narratives as Theatres and as machines:  Two forms of Repetition in Benjamin and Kafka,” Journal of the Kafka Society of America 12 (1988), 11-28.
  • “Solitude as an Effect of Language in García Márquez’sCien años de soledad,” Criticism 30 (1988), 467-496; reprinted in Harold Bloom, ed., Gabriel García Márquez’s One Hundred Years of Solitude, Bloom’s Modern Critical Interpretations Series (Philadelphia: Chelsea House 2003), 85-114.
  • “Narrative Foiled in Bergman’s The Seventh Seal,” Theatre Journal 39 (1987), 364-382.
  • “A Semiotic Approach to Prospection in Shelley,” Semiotica 64 (1987), 279-297.
  • “’His Form and Cause Conjoin’d’:  Reflections on ‘Cause” in Hamlet,” Renaissance Drama, n.s., 16 (1985), 75-94.
  • “Theatricality, Generality, Drama:  Variations on the Theme of Context in Hamlet,” Criticism 27 (1985), 111-131.
  • “’He that plays the king’:  The Problem of Pretending in Hamlet,” Criticism 25 (1983), 13-26.